My misconception was that rigid-heddle weaving was not “real” weaving. Shire Archaeology, Aylesbury.As a longtime multishaft loom weaver, I came to rigid-heddle weaving hesitantly. Van Groningen JS (1520–1540) Van traktaat over de naaikunst (Titlelblad), Cologne, Rijksmuseum, Amsterdam,, accessed. Valk H, Ratas J, Laul S (2014) Siksälä Kalme II. Torgenrud H (2014) Norwegian pick-up bandweaving. Tallinn Estonian Academic Publishers, Tallinn. Sperling U (2014) Aspekte des Wandels in der Bronzezeit im Ostbaltikum. Ecomed Verlagsgesellschaft, Landsberg/Lech. Schweppe H (1992) Handbuch der Naturfarbstoffe. Estonian National Museum (ENM), Saara Kirjastus, Tartu. Rand P (2019) Estonian pick-up woven belts. Muistis Ja Ajalugu, Tartu Ülikool, Tartu, p 352–351. In: Valk H, Laul S (eds) Siksälä Kalme I. Rammo R, Matsin A (2014) Weaving in Medieval village on the basis of Siksälä finds. Monographs of the Archaeological Society of Finland 3, p 102–115. In: Lipkin S, Vaianto K (eds) Focus on archaeological textiles: Multidisclipinary approaches. Rammo R (2014) Tradition and transition: The technology and usage of plant-fibre textiles in Estonian rural areas in the 11 th–17 th centuries. Øye I (1988) Textile equipment and its working environment. Experimentelle Archäologie in Europa Bilanz 10:213–218. Neumann R, Freudenberg B, Siwek M (2011) Das Vaaler Bändchen – Die Rekonstruktion eines archäologischen Kammgewebes aus Dithmarschen als Gemeinschaftsarbeit der Wollgruppe des Museumdorfes Düppel in Berlin. Oxbow Books, Oxford and Oakville, p 64–78. In: Hopkins H (ed.) Ancient textiles, modern science II. Matsin A (2013) The 13 th–16 th century tablet-woven bands from Estonia. University of Tartu and Gotland University College, Tartu and Tallinn. Laul S, Valk H (2007) Siksälä, a community at the frontiers. Vilniaus dailė akademija, Vilnius, p 285–372. Karlsone A, Vaska B (2009) Sẽnosios Šventinių Drabužuų Puošybos Tradicijos. Götze A (1908) Brettchenweberei im Altertum. Archaeological Texiles Newsletter 52:41–47. Anne Dixon, Gasthorpe.įoulkes SJ (2011) Roman rigid heddles: A survey. Consejería de Cultura y Deporte, Valencia, p 143–153.ĭixon A (2012) A brief history of the inkle. In: Alfaro Giner C, Tellenbach M, Ferrero R (eds) Textiles y museologia. Boydell and Brewer, London.ĭemant I (2009) Principles for reconstruction of costumes and archaeological textiles. Det kongelige nordiske oldskriftselskab, København.Ĭrowfoot E, Pritchard F, Staniland K (1992) Textiles and clothing c.1150–c.1450. Birka Project, Stockholm.īender Jørgensen L (1986) Forhistoriske textiler i Skandinavien. In: Ambrosiani B (ed.) Excavation in the black earth 1990–1995. KeywordsĪnderson E (2003) Tools for textile production from Birka and Hedeby. Written sources and folk beliefs passed on in oral history tradition, as well as ethnographic comparisons shed light on the production and also on symbolisms connected with the bands and their patterns. From as early as the tenth century AD, narrow bands play a central role in the textile tradition around the Baltic Sea and a wider area in Scandinavia. In addition, a weaving technique called ‘Auleja’ is used to recreate ribbons with geometric colour design. This contribution examines weaving on a rigid heddle using an experimental approach, with textile finds from the site of Siksälä in Estonia dating from 800 to 1475 AD serving as the basis for archaeological weaving experiments. For example, rigid heddles were used to create different weave structures and patterns, from simple repp or tabby weaves to complex geometric designs. Quantitatively, tablet weaving is among the main techniques, but there is also evidence for other weaving techniques. Throughout history, various band weaving techniques were used to create ribbons, bands or girdles that comprise a specific group in the archaeological evidence of textile artefacts.
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